故事发生在位于德克萨斯州的一年老人院里。艾维斯（布鲁斯·坎贝尔 Bruce Campbell 饰）约翰（奥西·戴维斯 Ossie Davis 饰）是生活在那里的两位老人，实际上，艾维斯一直认为自己是著名的摇滚巨星猫王，而约翰则坚信自己是美国曾经的著名总统肯尼迪，并没有人来戳穿两个老人可悲的幻想。 　　一个来自古埃及的可怕魔鬼现身了，每天夜里，他会选中一些可怜人作为目标，吸走他们的灵魂。艾维斯和约翰决定发挥最后的光和热，绝不让魔鬼继续为非作歹。但很快的，两人便发现，魔鬼酝酿着一个更大的阴谋，它企图用人类的灵魂来复活一支古埃及军队，再率领着这支军队征服人界。

在鬼灵横行的末世，世上最强的“幽陵鬼王”在执行任务时，遭亲信林业与幕后黑手赵无量联手背叛，不幸陨落。十年后，他的一缕残魂重生在了8岁少年陵川身上。陵川是幽陵鬼王生前女友陵雪的弟弟，天赋被视为“废物”。 重生后的幽陵（陵川）不仅要面对家族内部堂哥陵岳的欺压、外部周家的觊觎，还要保护因照顾自己而耽误修炼的姐姐陵雪。他凭借前世的知识与经验，在家族考核中一鸣惊人，暗中指点陵雪击败强敌，守护了父亲的遗物“鬼神佩”。

在鬼灵横行的末世，世上最强的“幽陵鬼王”在执行任务时，遭亲信林业与幕后黑手赵无量联手背叛，不幸陨落。十年后，他的一缕残魂重生在了8岁少年陵川身上。陵川是幽陵鬼王生前女友陵雪的弟弟，天赋被视为“废物”。 重生后的幽陵（陵川）不仅要面对家族内部堂哥陵岳的欺压、外部周家的觊觎，还要保护因照顾自己而耽误修炼的姐姐陵雪。他凭借前世的知识与经验，在家族考核中一鸣惊人，暗中指点陵雪击败强敌，守护了父亲的遗物“鬼神佩”。

前世惨死于吸血鬼末世的社畜程潇，重生回灾难降临前一周。她意外遭遇豪门未婚夫林景琛退婚，却因祸得福获得五千万分手费。程潇果断买下坚固的公司大楼并囤积海量物资，打造末世堡垒。 血月降临，曾欺压她的主管苏珊在底层求生，而程潇在顶层安居。她救下被感染的林景琛，发现他并未尸化，反而进化成保留理智、战力爆表的“混血种”。两人在末世中相依为命，林景琛甘愿成为程潇的最强保镖。 随着危机升级，苏珊勾结非法生物集团“天启”攻打大楼，意图抓捕林景琛做实验。两人历经大楼攻防、林景琛失忆等生死考验，最终合力铲除反派，逃出生天。结局中，林景琛利用自身抗体助人类研发出疫苗，两人在京郊庄园建立基地，携手重建文明。

季家继女季晚晚自幼备受漠视，暴雨夜被继妹下药，即将沦为交易筹码。她跳窗逃生，濒死之际鲜血意外唤醒沉睡百年的吸血鬼王顾子归，成为他唯一的契血者。顾子归人前冷漠疏离，实则因血契反噬暗中守护；而温柔的副总裁顾沉舟，却是潜伏的猎人首领，妄图用她的血脉炼制弑王武器。 婚礼上，季晚晚遭顾沉舟暗算，顾子归为救她身受重伤。绝境之中，二人放下戒备，血契彻底相融。最终决战，顾子归以命相护，扫清所有危机。季晚晚挣脱命运枷锁，重拾画笔开启艺术人生；顾子归舍弃永恒王座，以平凡身份，永远守候在她身边。

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

律师亚历山大有机会得到他梦寐以求的工作。然而，有一天，他的人生彻底颠覆——他儿时向圣尼古拉斯许下的愿望，那些他早已遗忘的愿望，突然开始一一实现。

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?